Ultimate Superman
by The Masked MiSTier
Summary: A retelling of the classic Superman mythos. Please R&R. I'm begging!
1. Ultimate Superman part 1

Disclaimer: I do not own Superman, or anything that goes with Superman. That is owned by AOL Times Warner and DC Comics.  
  
This is my vision of Superman, starting at the beginning and borrowing the Ultimate concept from Marvel comics by making  
  
Superman 19.  
  
This is only part of the story. I'm not sure I want to finish it due to lack of feedback. If you like this story, then  
  
I beg you to review it, otherwise I'll end it where it is.  
  
FADE IN:  
  
EXT. SPACE -- KRYPTON  
  
The blue green gem of the planet Krypton orbiting it's red sun. Craters, smoke, fire,   
  
and destruction are visible from space.  
  
INT. COMMAND CENTER  
  
A command center. Various electronics and computers. Men sit in front of computer   
  
monitors in hovering chairs, wearing helmets connected to the computer monitor.  
  
INT. CONFERENCE ROOM  
  
A circular table in a slate gray room. Seated around the table are high ranking military   
  
officials: GENERAL ZOD, URSA, the SUPREME COMMANDER of KRYPTONIAN FORCES, and JOR-EL.  
  
In the middle of the table is a hologram of Krypton. General Zod is walking around the   
  
table.  
  
ZOD  
  
Commander, the red tint indicates the territory held by Brainiac. The yellow   
  
tint is what's left in Kryptonian hands.  
  
The hologram changes, some of the planet is tinted red.  
  
ZOD  
  
A good portion of the planet, about 90% is under the rule of Brainiac. Sad   
  
isn't it. Our military forces are being driven back and killed faster than we   
  
can replace them. If this keeps up, Krypton will be under Brainiac's total   
  
control in forty eight hours.  
  
The Supreme Commander shifts in his chair.  
  
SUPREME COMMANDER  
  
And what do you plan on doing about it?  
  
ZOD  
  
Increase the power input into the Eradicator.  
  
JOR-EL  
  
No!  
  
All eyes turn to Jor-El.  
  
URSA  
  
Why not?  
  
JOR-EL  
  
I've been monitoring the Eradicator's effects on our planet. Using Krypton's   
  
core to power him is foolhardy. Using anymore is suicide.  
  
SUPREME COMMANDER  
  
Do you have proof, Jor-El?  
  
JOR-EL  
  
I've been monitoring seismic activity on Krypton and ever since we increased   
  
the Eradicator's power, there have been powerful seismic disturbances here.  
  
He hits a button and part of the hologram is now blue.  
  
URSA  
  
But Jor-El, most of those so called disturbances are all within territories   
  
recently captured by Brainiac. Heavy fighting and incendiary devices,   
  
especially a large number of them are to blame.  
  
JOR-EL  
  
I'm aware of that.  
  
ZOD  
  
There is no other choice.  
  
The Supreme Commander ponders this.  
  
SUPREME COMMANDER  
  
Jor-El, I have, for the longest time, respected you and the House of El. But   
  
this time I must side with General Zod. If we don't use the Eradicator at full   
  
power, then our planet is doomed. Either way we'll lose this planet. Better to   
  
go out fighting then to die as captives.  
  
(to Zod)  
  
General Zod, you may increase the power to the Eradicator up to the safety   
  
limit.  
  
Zod smiles at this victory.  
  
ZOD  
  
Yes, sir.  
  
JOR-EL  
  
I must protest.  
  
SUPREME COMMANDER  
  
There will be no more discussion. Dismissed.  
  
CUT TO:  
  
INT. HOUSE OF EL  
  
Sitting in the living area of the House is LARA, and playing with a self propelled ball   
  
is their son, KAL-EL.  
  
The ball gets away from Kal-El and rolls near the door. The door slides open, and Jor-El  
  
enters. Kal-El crawls toward his father.  
  
LARA  
  
Jor-El, what's wrong?  
  
Jor-El bends down and picks up Kal-El.  
  
JOR-EL  
  
Once again they have ignored my warnings, my data. They've doomed us, Lara.  
  
They've doomed us all.  
  
EXT. BATTLEFIELD  
  
Destruction, fires, debris. It's a warzone. Robotic foot soldiers mow down heavily arm   
  
Krytponians. Armored machines roll down the road, trampling the debris flat. A wounded   
  
Kryptonian gets caught in it's path and screams as the machine runs him down.  
  
A black/gold blur flies into and through the machine. The machine begins smoking and   
  
finally explodes.  
  
The foot soldiers open fire on the blur. The laser beams and bullets bounce off of the   
  
blur and smash into the foot soldiers. The remaining foot soldiers are mowed down by the   
  
blur. The blur stops in the midst of a squad of soldiers, ripping and tearing them   
  
apart. THE ERADICATOR with his power boost.  
  
EXT. KRYPTONOPOLIS -- DAY  
  
Flying troop carriers, machines, and foot soldiers march on the city. Kryptonian   
  
soldiers man the guns and fire at the advancing troops.  
  
Soldiers are mowed down as the machines keep coming. The flying machines drop bombs down   
  
on the city. The motorized machines trample through the fortifications and into the city.  
  
INT. HOUSE OF EL  
  
Jor-El, Lara, and Kal-El are eating.  
  
Explosions rock the house, throwing them to the floor. Kal-El begins to bawl. Lara grabs   
  
him, trying to comfort him.  
  
LARA  
  
What's going on?  
  
JOR-EL  
  
They're attacking the city.  
  
He gets up and runs for the door.  
  
INT. COMMAND CENTER  
  
Jor-El rushes into the command center.  
  
Zod and the Supreme Commander are watching.  
  
JOR-EL  
  
Supreme Commander!  
  
SUPREME COMMANDER  
  
Jor-El, good. You're just in time to witness your creation first hand.  
  
On the screen, the black/gold blur of the Eradicator zooms into the battlefield. The   
  
Eradicator proceeds to earn his namesake by eradicating a large chunk of the foot   
  
soldiers.  
  
He grabs the motorized machine and chucks it into one of the flying machines. Both   
  
machines explode and the debris rain to the ground.  
  
JOR-EL  
  
My God.  
  
ZOD  
  
It's beautiful.  
  
INT. MOTORIZED MACHINE  
  
The Eradicator's hand rips a huge hole in the machine. The Eradicator enters and rips   
  
apart the machines.  
  
EXT. KRYPTONOPOLIS -- DAY  
  
The Eradicator throws the jagged piece of metal from the machine into a flying machine.   
  
The machine explodes, crashing to the ground.  
  
The machines begin to retreat. The troops cheer.  
  
INT. COMMAND CENTER  
  
ZOD  
  
They're retreating!  
  
SUPREME COMMANDER  
  
We've won the day.  
  
One of the communications officers turns from his computer.  
  
COMMUNICATIONS OFFICER  
  
Sir, we're receiving a communication  
  
(beat)  
  
from Brainiac.  
  
JOR-EL  
  
What?  
  
SUPREME COMMANDER  
  
On screen.  
  
The shadowy face of Brainiac appears on the screen.  
  
BRIANIAC  
  
Supreme Commander, General Zod, Jor-El.  
  
ZOD  
  
Make this quick, Brainiac.  
  
BRIANIAC  
  
I wish to propose a cease fire and I wish to open the lines of negotiation.  
  
SUPREME COMMANDER  
  
I agree with your request.  
  
(to Zod)  
  
General Zod, you will relay the cease fire order to your men.  
  
ZOD  
  
Yes sir.  
  
BRIANIAC  
  
I will land on your planet tomorrow.  
  
SUPREME COMMANDER  
  
I will send Jor-El and General Zod to your ship to meet and negotiate.  
  
BRIANIAC  
  
Excellent.  
  
The screen goes dead.  
  
CUT TO:  
  
EXT. KRYPTON DESERT -- DAY  
  
A hover car zooms over the sandy wasteland.  
  
INT. HOVER CAR  
  
Jor-El and Zod sit in the open canopy car. Jor-El is driving.  
  
JOR-EL  
  
I don't trust Brainiac.  
  
ZOD  
  
That's the only thing we can agree on.  
  
JOR-EL  
  
Then why are we unarmed?  
  
ZOD  
  
Oh, we're not unarmed. I have the Eradicators activation and call button on me.  
  
Jor-El turns back to the desert.  
  
JOR-EL  
  
I think I see the drop ship.  
  
ZOD  
  
Good. It's too damned hot.  
  
EXT. KRYPTON DESERT - DAY  
  
The hover car approaches the large drop ship.  
  
INT. DROP SHIP CONFERENCE ROOM  
  
Zod and Jor-El are lead into the conference chamber. They sit at the table, alone.  
  
JOR-EL  
  
I have a bad feeling about this.  
  
A door at the other end of the room opens. Brainiac enters the room, still in shadow.  
  
BRIANIAC  
  
As you should Jor-El.  
  
Four robotic foot soldiers enter the room, flanking Brainiac.  
  
JOR-EL  
  
What is the meaning of this?!  
  
BRIANIAC  
  
Did you bring what I requested, General Zod?  
  
Zod stands, unhooking the device from his belt.  
  
ZOD  
  
Yes, Brainiac. Everything to control the Eradicator is downloaded into this   
  
device.  
  
BRIANIAC  
  
Good.  
  
Brainiac nods to a soldier. The soldier fires his gun, mowing down Zod. Zod hits the   
  
floor.  
  
The soldier trains his gun on Jor-El and fires.  
  
CUT TO:  
  
INT. HOUSE OF EL  
  
Lara is slowly rocking a sleeping Kal-El, walking him down a hallway toward his room.  
  
On the wall next to her, a panel slides open, Jor-El's face on a monitor.  
  
JOR-EL  
  
My wife Lara.  
  
Lara stops, turning.  
  
LARA  
  
Jor-El?  
  
JOR-EL  
  
If you are seeing this, then I am dead.  
  
LARA  
  
No.  
  
JOR-EL  
  
And if I am dead, then all is lost.  
  
The wall slides open, revealing a hidden laboratory.  
  
JOR-EL  
  
Within the room is a space pod. It's a secret escape ship that I've been   
  
working on since the war began. Unfortunately it was slow going. Too slow, I'm   
  
afraid. The only part of the pod I finished was for Kal-El.  
  
Lara looks down at her baby.  
  
JOR-EL  
  
Lara, this request will be hard, I'm sure. Place Kal-El within the rocket and   
  
send him off this world. I wish I could have finished enough to save all three   
  
of us, Lara, or even just you and Kal-El. I'm so sorry.  
  
The screen goes blank. Lara enters the laboratory.  
  
INT. LABORATORY  
  
Lara enters. Inside is a space pod with three prongs. Only one of the prongs has a pod   
  
on it. An open sky light points toward the stars.  
  
Lara walks over to the pod and opens it. She looks down at her baby.  
  
EXT. KRYPTON DESERT  
  
The drop ship is flying toward the atmosphere.  
  
INT. DROP SHIP CONFERENCE ROOM  
  
Zod, near death, hits a button on the Eradicator's activation device.  
  
INT. COMMAND CENTER  
  
A computer panel activates, and an alarm sounds. The Eradicator's power level begins to   
  
increase, going beyond the red line.  
  
The Supreme Commander rushes over.  
  
SUPREME COMMANDER  
  
What's going on?  
  
SOLDIER  
  
It's the Eradicator sir. Someone's activated him!  
  
SUPREME COMMANDER  
  
Shut him down.  
  
The soldier types in a few commands.  
  
SOLDIER  
  
I can't!  
  
The room is rocked by an explosion.  
  
SUPREME COMMANDER  
  
What was that?!  
  
SOLDIER  
  
I think it was an earthquake sir.  
  
SUPREME COMMANDER  
  
Jor-El was right.  
  
CUT TO:  
  
INT. LABORATORY  
  
Lara is almost flung off her feet as the room rocks. She approaches the pod again, this  
  
time with determination. She lays Kal-El into the pod.  
  
LARA  
  
Good bye.  
  
She shuts the pod and goes to a control panel. She hits the labeled buttons. The pod   
  
activates, lifting off and shooting toward space.  
  
Another earthquake rocks the room, causing part of it to collapse.  
  
Lara stands firm, watching the pod disappear.  
  
EXT. KRYPTON DESERT -- DAY  
  
The black/gold blur flies after the drop ship.  
  
INT. DROP SHIP COCKPIT  
  
Brainiac, in shadow, sits in the middle of the cockpit while robotic foot soldiers fly   
  
the ship. An alarm goes off.  
  
BRIANIAC  
  
What is that noise?  
  
ROBOT  
  
It's the proximity alarm, sir.  
  
CRASH! The Eradicator flies through the cockpit and stops in front of Brainiac.  
  
EXT. SPACE -- KRYPTON  
  
The planet is coming apart at the seems. The little space pod with Kal-El flies passed   
  
the camera.  
  
INT. DROP SHIP COCKPIT  
  
ERADICATOR  
  
Land at once, Brainiac.  
  
BRIANIAC  
  
Or what, you'll kill me?  
  
ERADICATOR  
  
If the need arises.  
  
One of the robots gets up to attack the Eradicator, but the Eradicator turns, his eyes   
  
burning red. He fires a heat beam that melts the robot into a puddle of melted metal.  
  
BRIANIAC  
  
You don't understand, do you?  
  
You're entire existence was created only to destroy your planet.  
  
The Eradicator's jaw drops.  
  
ERADICATOR  
  
No.  
  
BRIANIAC  
  
And through me, you have done so.  
  
EXT. SPACE -- KRYPTON  
  
The drop ship is just through the atmosphere when the planet explodes. The shockwave   
  
hurls the ship passed the remaining warships surrounding the planet. The shockwave then   
  
destroys the ships.  
  
The Eradicator is flung from the drop ship, his body hit and hurled away.  
  
CUT TO:  
  
EXT. SKY -- NIGHT  
  
The little space pod, now surrounded by fire as it penetrates the atmosphere, plummets   
  
toward the corn field.  
  
EXT. DIRT ROAD -- NIGHT  
  
An old, beat up truck drives down a dirt road.  
  
INT. TRUCK  
  
JONATHAN and MARTHA KENT, both in their mid thirties, sit in the front seat of the   
  
truck. Behind them are a few scattered stuffed animals.  
  
Martha is leaning on JONATHAN's arm.  
  
The radio is on.  
  
RADIO  
  
This just in from the national weather service, a severe snow storm is poised   
  
to hit the town of Smallville, Kansas...  
  
JONATHAN turns off the radio.  
  
MARTHA  
  
I just love the county fair.  
  
JONATHAN  
  
Once a year is enough for me.  
  
EXT. SKY/STREET/CORNFIELD - NIGHT  
  
The pod, still glowing from entry, smashes into the a cornfield and skids out into the   
  
road.  
  
INT. TRUCK  
  
JONATHAN smashes down on the brake.  
  
EXT. DIRT ROAD  
  
The truck swerves, and skids, stopping just short of the edge of the road.  
  
INT. TRUCK  
  
JONATHAN  
  
Martha, are you okay?  
  
MARTHA  
  
I'm fine. What was that?  
  
JONATHAN takes off his seat belt.  
  
JONATHAN  
  
I don't know, but I'm going to find out.  
  
He opens the door, and turns back to Martha.  
  
JONATHAN  
  
You stay here.  
  
He shuts the door. Martha watches him walk away, and then undoes her seat belt.  
  
EXT. CORNFIELD -- NIGHT  
  
JONATHAN navigates the path that the pod left behind until he comes to the epicenter.   
  
Lying in the middle of a crater is the pod.  
  
Martha walks up behind him.  
  
MARTHA  
  
What is it?  
  
JONATHAN  
  
It looks like something from those sci-fi movies.  
  
JONATHAN walks toward the crater.  
  
JONATHAN  
  
It looks like it hit here and jumped and then came down to a rest.  
  
He drops into the crater.  
  
MARTHA  
  
Be careful.  
  
JONATHAN touches the pod. The pod slides back, hissing. JONATHAN pulls his hand away.  
  
MARTHA  
  
What is it?  
  
JONATHAN pulls Kal-El out of the pod, cradling him.  
  
JONATHAN  
  
It's a baby!  
  
MARTHA  
  
A baby?!  
  
Thunder rumbles and the sky is lit up by lightning.  
  
JONATHAN climbs out of the crater.  
  
JONATHAN  
  
What do we do with him?  
  
MARTHA  
  
The snowstorm's coming, JONATHAN.  
  
We have to get him home.  
  
JONATHAN  
  
But Martha...  
  
MARTHA  
  
No baby deserves to be left out in a snowstorm.  
  
JONATHAN  
  
Yeah. Okay. We'll discuss it then.  
  
INT. TRUCK  
  
The snow has started to fall. The windshield wipers are working furiously to get the   
  
snow off the windshield.  
  
MARTHA  
  
Isn't he adorable?  
  
JONATHAN  
  
Don't get too attached. First thing tomorrow I'm reporting this.  
  
MARTHA  
  
JONATHAN, no! What if they come and take him away from us? You know what the   
  
government does to people from other countries.  
  
JONATHAN  
  
I don't think he's from another country Martha. I think he's from another   
  
world.  
  
MARTHA  
  
What?!  
  
JONATHAN  
  
Think about it, Martha. There were no markings on that little pod of his, and   
  
no country to my knowledge has that kind of technology.  
  
MARTHA  
  
That's crazy talk.  
  
JONATHAN  
  
I sure hope so.  
  
EXT. KENT FARM -- SNOWSTORM -- NIGHT  
  
The snow is blowing hard now.  
  
JONATHAN shuts the barn doors and locks them.  
  
INT. KENT FARM HOUSE  
  
JONATHAN stokes a fire in the fireplace as Martha sits on the couch with Kal-El.  
  
JONATHAN  
  
Martha, I've made a decision.  
  
He puts down the poker and turns toward the couch.  
  
JONATHAN  
  
We'll keep him. Raise him as our own.  
  
MARTHA  
  
Why the change of heart?  
  
JONATHAN  
  
Having a baby around makes me feel complete, like a family man.  
  
MARTHA  
  
And we've always wanted on.  
  
(sudden realization)  
  
But what do we tell the neighbors?  
  
JONATHAN  
  
Nothing.  
  
MARTHA  
  
But what if they ask?  
  
JONATHAN  
  
Then we'll make something up.  
  
He sits on the couch.  
  
MARTHA  
  
What do we name him?  
  
JONATHAN  
  
Well, how about Clark.  
  
MARTHA  
  
(trying it out)  
  
Clark Kent. I like it.  
  
Martha leans down and tickles the bottom of Kal-El, now CLARK KENT's feet. Clark   
  
giggles.  
  
CUT TO:  
  
EXT. SPACE -- EARTH  
  
The body of the Eradicator drifts through space, deactivated, lifeless.  
  
A comet streaks buy, smacking into the Eradicator. The comet carries the Eradicator   
  
toward the Earth.  
  
EXT. EARTH -- SKY OVER ANTARCTICA -- NIGHT  
  
A research station in the Antarctic.  
  
INT. RESEARCH STATION  
  
Two researchers sit in front of monitoring stations, and radar, sipping coffee.  
  
RESEARCHER 1  
  
What I wouldn't give for fresh coffee.  
  
RESEARCHER 2  
  
Amen to that.  
  
A beeping on the radar console. Researcher 2 sits forward, hitting a few keys.  
  
RESEARCHER 1  
  
What is it?  
  
RESEARCHER 2  
  
Comet. It's going to hit ten miles due west of here.  
  
RESEARCHER 1  
  
Forget it. It's just a comet. Make a note of it, time, date, whatever, and   
  
forget about it.  
  
EXT. ANTARCTICA - SNOWING - NIGHT  
  
The comet smashes into the ground, digging a crater. Laying in the middle of the crater,   
  
is the body of the Eradicator as he slowly gets covered in ice.  
  
POV - THE ERADICATOR  
  
We see what The Eradicator sees, as his eyes get covered by snow.  
  
CUT TO:  
  
EXT. KENT FARM -- DAY  
  
CAPTION: Ten Years Later...  
  
Jonathan has the pick up truck out of the barn and up on a jack, working under it.  
  
INT. KENT FARM HOUSE -- KITCHEN  
  
Martha is washing dishes with ten year old Clark. Clark is standing on a step stool.   
  
Martha hands him a dish to dry, he dries it, and sets it on a stack.  
  
Through the window we can see Jonathan working on the truck.  
  
CLARK  
  
What's Pa doing?  
  
MARTHA  
  
Changing the oil.  
  
CLARK  
  
What's that mean?  
  
MARTHA  
  
I don't know, why don't you go ask him? I'll finish up here.  
  
CLARK  
  
Are you sure?  
  
MARTHA  
  
Positive.  
  
Clark jumps off the step and runs to the door.  
  
EXT. KENT FARM -- DAY  
  
Clark jogs out to the truck.  
  
CLARK  
  
Pa?  
  
Jonathan slides out from under the truck.  
  
JONATHAN  
  
Yes, Clark?  
  
CLARK  
  
What'cha doing?  
  
JONATHAN  
  
Changing the oil.  
  
CLARK  
  
Can I help?  
  
JONATHAN  
  
Sure.  
  
Clark lays on his back on the ground and wiggles under the truck. Jonathan slides back   
  
under.  
  
CLARK  
  
Why do you have to change the oil?  
  
JONATHAN  
  
Otherwise the truck won't run, and then we can't head into town for ice cream.  
  
Jonathan resumes his task.  
  
Unseen by both of them is the old, rusted jack, very slowly starting to break in half.  
  
CLARK  
  
What's that?  
  
JONATHAN  
  
That's the oil pan. I drain the oil out from here, see?  
  
Clark nods.  
  
JONATHAN  
  
And then I collect it here.  
  
The jack breaks suddenly, the truck falling down toward the two, the wheel heading   
  
straight for Clark.  
  
INT. KENT FARM HOUSE -- KITCHEN  
  
Martha looks up as she hears Jonathan cry out. She watches the truck go straight down,   
  
but then stop.  
  
She drops a dish, and it breaks against the floor as she runs from the kitchen.  
  
EXT. KENT FARM -- DAY  
  
Martha runs out of the house.  
  
MARTHA  
  
Jonathan?! Clark?!  
  
She stops, looking in amazement as Jonathan slides out from under the truck.  
  
Under the truck, clearly visible to Martha, is Clark, his hands on the bottom of the   
  
wheel, holding the truck in air effortlessly.  
  
JONATHAN  
  
Well I'll be damned.  
  
MARTHA  
  
Oh my God.  
  
JONATHAN  
  
Martha, I think it's time I took a look at that pod.  
  
CUT TO:  
  
INT. BARN  
  
Jonathan opens the barn doors and carefully maneuvers his way toward the center of the   
  
barn. He leans down, brushing hay off of the floor to reveal a trap door. He pulls open   
  
the door.  
  
INT. CLARK'S BEDROOM  
  
Clark is sleeping soundly until he hears a loud SCREECH. He sits straight up in bed,   
  
looking out the window. The light in the barn.   
  
INT. STORM CELLAR  
  
Jonathan walks down the steps into the storm cellar and clicks on a flash light. The   
  
beam illuminates the pod, still intact, the top still open. Jonathan walks over to it   
  
and leans down inside it.  
  
JONATHAN  
  
There has to be something in here. Anything.  
  
Steps behind him, on the stairs.  
  
CLARK  
  
Pa?  
  
Jonathan whirls, startled.  
  
JONATHAN  
  
Clark. What are you doing out of bed?  
  
CLARK  
  
Something woke me up. What are you doing?  
  
Jonathan hesitates. Should he tell the truth, or try to cover.   
  
JONATHAN  
  
Son, come here.  
  
Clark pads over to Jonathan.  
  
JONATHAN  
  
Clark, ten years ago you Ma and I were given a wonderful present. You. It's   
  
just that, Clark, how do I put this without coming off as an evil man?  
  
He thinks.  
  
CLARK  
  
Just tell me.  
  
JONATHAN  
  
Clark, this thing behind me was what we found you in. It crash landed in a   
  
field, ten years ago. We don't know where it came from, or how it ended up on   
  
Earth..  
  
CLARK  
  
So I'm adopted?  
  
JONATHAN  
  
In a manner of speaking.  
  
CLARK  
  
Which is why I was able to hold up the truck today.  
  
JONATHAN  
  
Yes.  
  
CLARK  
  
Why didn't you tell me this before?  
  
JONATHAN  
  
Clark, you've always been a smart kid. You tell me.  
  
Clark stops, thinks for a second. Then.  
  
CLARK  
  
Because you think I can handle it better now?  
  
JONATHAN  
  
Exactly.  
  
Clark stares at the pod, not sure what to think.  
  
CLARK  
  
What happened to my real parents?  
  
Jonathan winces at that.  
  
JONATHAN  
  
I don't know. I was hoping you'd help me find out.  
  
CLARK  
  
Sure.  
  
Together they go over the pod.  
  
CUT TO:  
  
INT. KENT FARM HOUSE -- KITCHEN -- EARLY MORNING  
  
Clark and Jonathan sit at the table, Jonathan has a cup of coffee in front of him, Clark   
  
has a glass of milk. They're covered in dirt.  
  
Martha walks into the kitchen.  
  
MARTHA  
  
Sake's alive you both look like you crawled your way out of a tomb!  
  
JONATHAN  
  
I told him Martha.  
  
MARTHA  
  
Oh Clark, I'm so sorry we didn't tell you sooner.  
  
CLARK  
  
It's okay, Ma. I understand. Just wait until the kid's at school see me now.  
  
Jonathan and Martha exchange glances.   
  
JONATHAN  
  
Clark, listen son, your powers are a God send. They make you unique, but   
  
they're not for showing off.  
  
Martha sits down at the table.  
  
MARTHA  
  
There's so much evil in this world. With your abilities you could make the   
  
world better, safer.  
  
CLARK  
  
All I can do is raise a truck over my head and hear things better.  
  
JONATHAN  
  
True. But it did take ten years to develop. Who knows what else might happen.  
  
CLARK  
  
I just hope I don't turn into a green Martian.  
  
They laugh.  
  
CUT TO:  
  
EXT. SCHOOL YARD -- DAY  
  
Recess time at the elementary school. Clark and some friends play dodge ball. Clark is   
  
unnaturally fast when it comes to dodging, and his throws seem a little hard. He pegs a   
  
kid square in the chest, knocking him on his butt.  
  
KID #1  
  
Yowza, Clark! That stung.  
  
Clark helps the kid to his feet.  
  
CLARK  
  
Sorry.  
  
KID #1  
  
No problem. It was fun!  
  
Back to the game. Clark throws the ball again, softer this time, but right on target. It   
  
hits another kid in the ankle and the ball bounces away, straight toward a seventh grade   
  
BULLY. He picks up the ball.  
  
KID #2  
  
Give that back!  
  
KID #3  
  
Yeah, give it back. That's ours.  
  
BULLY  
  
So you want your little ball back huh?  
  
CLARK  
  
Just give the ball back and stop acting like a butt head.  
  
The reaction from the kids is one of shock and awe. They back away, going "Oooh."  
  
BULLY  
  
What did you call me?  
  
CLARK  
  
I said stop acting like a butt head.  
  
That's all the provocation the bully needs. He reaches back and lets the ball fly. It   
  
zings straight into Clark's face and bounces off. Clark is unaffected at first until he   
  
realizes how it looks and then stumbles back and falls on his butt.  
  
CLARK  
  
Ow.  
  
KID #4  
  
Clark, are you okay?!  
  
CLARK  
  
I'm fine.  
  
BULLY  
  
Teach you to call me a butt head.  
  
CLARK  
  
All I said was you were acting like a butt head.  
  
Clark gets to his feet.  
  
CLARK  
  
Now you are a butt head.  
  
The bully whirls. Clark stands his ground. He reaches back and takes a swing, punching   
  
Clark in the stomach. Again, Clark's reaction was no reaction, but then he doubled over,   
  
acting. He goes down to one knee.  
  
BULLY  
  
Done yet?  
  
CLARK  
  
(feigning breathless)  
  
Sure.  
  
The bully walks away, shaking his fist as if he punched a wall. The other kids help   
  
Clark to his feet.  
  
KID #2  
  
That was amazing! No one's ever stood up to him.  
  
A ten year old girl, LANA LANG, rushes over.  
  
LANA  
  
Clark, are you okay?  
  
CLARK  
  
Fine Lana.  
  
LANA  
  
You sure?  
  
CLARK  
  
Yes, Lana.  
  
CUT TO:  
  
EXT. KENT FARM -- AFTERNOON  
  
Clark and Lana walk up the walk toward the Kent Farm House. Jonathan is standing on a   
  
ladder, fixing a weather vane. Clark is still faking his injuries, doubled over, holding   
  
his stomach.  
  
JONATHAN  
  
Hi kids.  
  
LANA  
  
Hi, Mr. Kent.  
  
JONATHAN  
  
Clark, what happened to you?  
  
CLARK  
  
Nothing, Pa.  
  
LANA  
  
It was awesome! This bully took Clark's ball so Clark stood right up to him.   
  
Took the ball right in the face and punch right in the gut, but he got the ball   
  
back.  
  
JONATHAN  
  
Is that so?  
  
Clark nods.  
  
CLARK  
  
I know about the no fighting rule, Pa. I didn't throw a punch back, I swear.  
  
Jonathan climbs down the ladder and walks over to Clark.  
  
JONATHAN  
  
Lana, go get Ma and get some ice for Clark's head.  
  
LANA  
  
Yes sir.  
  
She bounds inside the house. Clark and Jonathan sit in the porch swing.  
  
JONATHAN  
  
I'm proud of you, son. You stood up for yourself and your friends, and didn't   
  
use your powers to fight back.  
  
CLARK  
  
Thanks Pa. I really did want to hit him though. I knew I could win if I fought   
  
back. It was hard not too.  
  
JONATHAN  
  
It always is, Clark. You just need to pick your battles.  
  
CLARK  
  
Yes Pa.  
  
Martha and Lana come out of the house, Lana babbling off the story of the bully fight.   
  
Martha's carrying an ice pack.  
  
LANA  
  
And then Clark stood his ground and demanded the ball back...  
  
MARTHA  
  
Clark Kent, what have we told you?  
  
CLARK  
  
I know Ma.  
  
JONATHAN  
  
Now, Martha, the boy didn't retaliate.  
  
Martha hands Clark the ice pack. He puts it over the eye where the ball hit.   
  
MARTHA  
  
Well, rules are rules, Clark.  
  
CLARK  
  
Okay, Ma.  
  
Jonathan stands up and stretches.  
  
JONATHAN  
  
Come on, Lana, I'll take you home.  
  
LANA  
  
Okay. Bye Clark.  
  
Lana and Jonathan walk toward the truck.  
  
MARTHA  
  
Where else did he hit you?  
  
CLARK  
  
The stomach.  
  
MARTHA  
  
Are you okay?  
  
CLARK  
  
Never better. It didn't hurt at all.  
  
MARTHA  
  
You had me convinced. Maybe you should be an actor.  
  
CUT TO:  
  
INT. HIGH SCHOOL SCHOOL AUDITORIUM  
  
CAPTION: FIVE YEARS LATER...   
  
The DRAMA TEACHER and his ASSISTANT sit in the front row of the auditorium. Standing on   
  
stage are a line of teenage boys, all varying in high school age (14 to 18). Standing on   
  
set of a balcony is LANA.  
  
DRAMA TEACHER  
  
Now, up for the part of Romeo, Clark Kent.  
  
Clark walks on stage. He's sure grown up since last time. He steps up to the mark on the   
  
stage and holds up a script.  
  
DRAMA TEACHER  
  
Juliet has just appeared above the balcony and you say..  
  
Clark begins acting, throwing all emotion forward, as if he were in true pain.   
  
CLARK  
  
But, soft! what light through yonder window breaks? It is the east, and Juliet   
  
is the sun. Arise, fair sun, and kill the envious moon, Who is already sick and   
  
pale with grief, That thou her maid art far more fair than she: Be not her   
  
maid, since she is envious; Her vestal livery is but sick and green And none   
  
but fools do wear it; cast it off.It is my lady, O, it is my love! O, that she   
  
knew she were! She speaks yet she says nothing: what of that? Her eye   
  
discourses; I will answer it.I am too bold, 'tis not to me she speaks: Two of   
  
the fairest stars in all the heaven, Having some business, do entreat her eyes   
  
To twinkle in their spheres till they return.What if her eyes were there, they   
  
in her head? The brightness of her cheek would shame those stars, As daylight   
  
doth a lamp; her eyes in heaven Would through the airy region stream so bright   
  
That birds would sing and think it were not night.See, how she leans her cheek   
  
upon her hand! O, that I were a glove upon that hand, That I might touch that   
  
cheek!  
  
Lana, as Juliet, leans against the rail of the balcony.  
  
LANA  
  
Aye me!  
  
CLARK  
  
She speaks: O, speak again, bright angel! for thou art As glorious to this   
  
night, being o'er my head As is a winged messenger of heaven Unto the   
  
white-upturned wondering eyes Of mortals that fall back to gaze on him When he   
  
bestrides the lazy-pacing clouds And sails upon the bosom of the air.  
  
LANA  
  
O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name;   
  
Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.  
  
CLARK  
  
Shall I hear more, or shall I speak at this?  
  
LANA  
  
'Its but thy name that is my enemy; Thou art thyself, though not a Montague.   
  
What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other   
  
part Belonging to a man. O, be some other name! What's in a name? that which we   
  
call a rose By any other name would smell as sweet; So Romeo would, were he not   
  
Romeo call'd, Retain that dear perfection which he owes Without that title.   
  
Romeo, doff thy name, And for that name which is no part of thee Take all   
  
myself.  
  
CLARK  
  
I take thee at thy word: Call me but love, and I'll be new baptized;   
  
Henceforth I never will be Romeo.  
  
LANA  
  
What man art thou that thus bescreen'd in night So stumblest on my counsel?  
  
CLARK  
  
By a name I know not how to tell thee who I am: My name, dear saint, is   
  
hateful to myself, Because it is an enemy to thee; Had I it written, I would   
  
tear the word.  
  
LANA  
  
My ears have not yet drunk a hundred words Of that tongue's utterance, yet I   
  
know the sound: Art thou not Romeo and a Montague?  
  
CLARK  
  
Neither, fair saint, if either thee dislike.  
  
LANA  
  
How camest thou hither, tell me, and wherefore? The orchard walls are high and   
  
hard to climb, And the place death, considering who thou art, If any of my   
  
kinsmen find thee here.  
  
CLARK  
  
With love's light wings did I o'er-perch these walls; For stony limits cannot   
  
hold love out, And what love can do that dares love attempt; Therefore thy   
  
kinsmen are no let to me.  
  
LANA  
  
If they do see thee, they will murder thee.  
  
CLARK  
  
Alack, there lies more peril in thine eye Than twenty of their swords: look   
  
thou but sweet, And I am proof against their enmity.  
  
LANA  
  
I would not for the world they saw thee here.  
  
CLARK  
  
I have night's cloak to hide me from their sight; And but thou love me, let   
  
them find me here: My life were better ended by their hate, Than death   
  
prorogued, wanting of thy love.  
  
LANA  
  
By whose direction found'st thou out this place?  
  
CLARK  
  
By love, who first did prompt me to inquire; He lent me counsel and I lent him   
  
eyes.I am no pilot; yet, wert thou as far As that vast shore wash'd with the   
  
farthest sea,I would adventure for such merchandise.  
  
LANA  
  
Else would a maiden blush bepaint my cheek For that which thou hast heard me   
  
speak to-night Fain would I dwell on form, fain, fain deny What I have spoke:   
  
but farewell compliment! Dots thou love me? I know thou wilt say 'Ay,'And I   
  
will take thy word: yet if thou swear'st, Thou mayst prove false; at lovers'   
  
perjuries Then say, Jove laughs. O gentle Romeo, If thou dost love, pronounce   
  
it faithfully: Or if thou think'st I am too quickly won, I'll frown and be   
  
perverse an say thee nay, So thou wilt woo; but else, not for the world. In   
  
truth, fair Montague, I am too fond, And therefore thou mayst think my 'havior   
  
light: But trust me, gentleman, I'll prove more true Than those that have more   
  
cunning to be strange.I should have been more strange, I must confess, But that   
  
thou overheard'st, ere I was ware, My true love's passion: therefore pardon me,   
  
And not impute this yielding to light love, Which the dark night hath so   
  
discovered.  
  
CLARK  
  
Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree   
  
tops--  
  
LANA  
  
O, swear not by the moon, the inconstant moon, That monthly changes in her   
  
circled orb, Lest that thy love prove likewise variable.  
  
CLARK  
  
What shall I swear by?  
  
LANA  
  
Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is   
  
the god of my idolatry, And I'll believe thee.  
  
CLARK  
  
If my heart's dear love--  
  
LANA  
  
Well, do not swear: although I joy in thee, I have no joy of this contract   
  
to-night: It is too rash, too unadvised, too sudden; Too like the lightning,   
  
which doth cease to be Ere one can say 'It lightens.' Sweet, good night! This   
  
bud of love, by summer's ripening breath, May prove a beauteous flower when   
  
next we meet.Good night, good night! as sweet repose and rest Come to thy   
  
heart as that within my breast!  
  
CLARK  
  
O, wilt thou leave me so unsatisfied?  
  
LANA  
  
What satisfaction canst thou have to-night?  
  
CLARK  
  
The exchange of thy love's faithful vow for mine.  
  
LANA  
  
I gave thee mine before thou didst request it: And yet I would it were to give   
  
again.  
  
CLARK  
  
Wouldst thou withdraw it? for what purpose, love?  
  
LANA  
  
But to be frank, and give it thee again.And yet I wish but for the thing I   
  
have: My bounty is as boundless as the sea, My love as deep; the more I give   
  
to thee, The more I have, for both are infinite.  
  
DRAMA TEACHER  
  
The Nurse calls within.  
  
LANA  
  
I hear some noise within; dear love, adieu! Anon, good nurse! Sweet Montague,   
  
be true.Stay but a little, I will come again.  
  
Lana exits through the back of the set piece.  
  
CLARK  
  
O blessed, blessed night! I am afeard. Being in night, all this is but a dream,   
  
Too flattering-sweet to be substantial.  
  
Lana re-enters from above.  
  
LANA  
  
Three words, dear Romeo, and good night indeed. If that thy bent of love be   
  
honourable, Thy purpose marriage, send me word to-morrow, By one that I'll   
  
procure to come to thee, Where and what time thou wilt perform the rite; And   
  
all my fortunes at thy foot I'll lay And follow thee my lord throughout the   
  
World.  
  
DRAMA TEACHER  
  
Nurse: Madam!   
  
LANA  
  
I come, anon.--But if thou mean'st not well,I do beseech thee--  
  
DRAMA TEACHER  
  
Nurse: Madam!  
  
LANA  
  
By and by, I come: --To cease thy suit, and leave me to my grief: To-morrow   
  
will I send.  
  
CLARK  
  
So thrive my soul--  
  
LANA  
  
A thousand times good night!  
  
Again, Lana exits.  
  
CLARK  
  
A thousand times the worse, to want thy light.Love goes toward love, as   
  
schoolboys from their books, But love from love, toward school with heavy   
  
looks.  
  
Clark turns to walk away from the set, as Lana reemerges above.  
  
LANA  
  
Hits! Romeo, hist! O, for a falconer's voice, To lure this tassel-gentle back   
  
again! Bondage is hoarse, and may not speak aloud; Else would I tear the cave   
  
where Echo lies, And make her airy tongue more hoarse than mine, With   
  
repetition of my Romeo's name.  
  
CLARK  
  
It is my soul that calls upon my name: How silver-sweet sound lovers' tongues   
  
by night, Like softest music to attending ears!  
  
LANA  
  
Romeo!  
  
CLARK  
  
My dear?  
  
LANA  
  
At what o'clock to-morrow Shall I send to thee?  
  
CLARK  
  
At the hour of nine.  
  
LANA  
  
I will not fail: 'tis twenty years till then.I have forgot why I did call thee   
  
back.  
  
CLARK  
  
Let me stand here till thou remember it.  
  
LANA  
  
I shall forget, to have thee still stand there, Remembering how I love thy   
  
company.  
  
CLARK  
  
And I'll still stay, to have thee still forget, Forgetting any other home but   
  
this.  
  
LANA  
  
'Its almost morning; I would have thee gone: And yet no further than a wanton's   
  
bird; Who lets it hop a little from her hand, Like a poor prisoner in his   
  
twisted gyves, And with a silk thread plucks it back again, So loving-jealous   
  
of his liberty.  
  
CLARK  
  
I would I were thy bird.  
  
LANA  
  
Sweet, so would I: Yet I should kill thee with much cherishing.Good night,   
  
good night! parting is such sweet sorrow, That I shall say good night till it   
  
be morrow.  
  
Lana exits.  
  
CLARK  
  
Sleep dwell upon thine eyes, peace in thy breast! Would I were sleep and peace,   
  
so sweet to rest! Hence will I to my ghostly father's cell, His help to crave,   
  
and my dear hap to tell.  
  
Done with the scene, everyone on the set claps. The drama teacher and his assistant   
  
stand, clapping.  
  
DRAMA TEACHER  
  
Congratulations, Clark Kent, you are our Romeo.  
  
Clark smiles, suddenly shy. He looks at Lana who's looking down from the balcony set.   
  
She winks at him.  
  
CUT TO:  
  
EXT. HIGH SCHOOL -- DAY  
  
Clark and Lana exit the school together. The parking lot is sparse, the students and   
  
some of the faculty have gone. There's an expensive, black car sitting in the lot.  
  
LANA  
  
You were really good.  
  
CLARK  
  
I had talent to play off of.  
  
Lana blushes.  
  
LANA  
  
Thanks.  
  
CLARK  
  
Listen, Lana, the Homecoming Dance is tonight, and I know it's short notice,   
  
but I was wondering...  
  
LANA  
  
Sorry, Clark. I have a date. In fact he's picking me up today.  
  
CLARK  
  
Oh.  
  
LANA  
  
He's right there.  
  
Clark stares, and does a double take. It's the bully from the school yard, now grown up   
  
and even worse.  
  
CLARK  
  
Lana, he's like eighteen and you're..  
  
LANA  
  
Fifteen? So what.  
  
CLARK  
  
Lana...  
  
LANA  
  
Listen, Clark, I've been dropping hints to you ever since fifth grade and yet   
  
you refused to acknowledge them. Or maybe you just couldn't see them. Either  
  
way, your chance has come and gone so many times I can't count.  
  
The bully honks the horn.  
  
LANA  
  
I'm sorry Clark.  
  
She jogs to the car. Clark stands, heartbroken, embarrassed, and slightly pissed off as   
  
he watches her get in the car. They speed off.  
  
CUT TO:  
  
INT. KENT FARM HOUSE -- KITCHEN  
  
Clark walks into the kitchen, plodding, slow. He tosses his backpack down near the door.   
  
Martha and Jonathan are sitting at the table, sipping on coffee.  
  
MARTHA  
  
Afternoon, Clark. How was school?  
  
CLARK  
  
Fine.  
  
JONATHAN  
  
And the audition?  
  
CLARK  
  
I got the part.  
  
MARTHA  
  
Oh that's wonderful! Our little Romeo.  
  
CLARK  
  
Yeah, it's great.  
  
JONATHAN  
  
What's wrong son? I thought you'd be ecstatic to play Romeo, especially with   
  
Lana being Juliet.  
  
CLARK  
  
Yeah, well, that was before she start dating that bully from the school yard.  
  
JONATHAN  
  
Does this bully have a name?  
  
CLARK  
  
I don't know. Honestly, I don't even care.  
  
MARTHA  
  
Lana's young. This guy is supposed to be a rebel, girls like the rebel.  
  
CLARK  
  
Not helping, Ma.  
  
MARTHA  
  
She'll come around, Clark. It's just a matter of time. You'd better get ready   
  
for the dance. It's almost five.  
  
CLARK  
  
I'm not going.  
  
MARTHA  
  
What?! But you have your suit all picked out. You were so excited...  
  
CLARK  
  
Well that was when I thought I'd have someone to go with. There's not point in   
  
going alone.  
  
Clark stands.  
  
CLARK  
  
If you'll excuse me, I'm going to go for a walk.  
  
Clark walks out the door, shutting in behind him.  
  
MARTHA  
  
Sometimes I worry about that boy, Jonathan.  
  
JONATHAN  
  
Don't worry about him, Martha. Clark's got a good head on his   
  
shoulders. He's just going through what every teenager goes   
  
through. 


	2. Ultimate Superman part 2

MARTHA  
  
Every teenager doesn't go through puberty afraid that he's accidentally going   
  
to rip the door to his locker off or spike a volleyball so hard that it goes   
  
through the floor.  
  
Jonathan ponders this for a moment.  
  
JONATHAN  
  
You know what my biggest fear is, Martha?  
  
MARTHA  
  
What?  
  
JONATHAN  
  
That one day someone's going to make him so angry that he forgets to keep   
  
himself in check. And I'd hate to be the poor devil he gets his hands on when   
  
he does.  
  
CUT TO:  
  
INT. BARN  
  
Clark picks his way toward the center of the barn and opens the trap door.  
  
INT. STORM CELLAR  
  
Clark walks down into the storm cellar, with no need for a flash light.  
  
P.O.V. CLARK  
  
Everything is bright enough to see.  
  
BACK TO SCENE  
  
Clark walks over to the pod. He runs his hands over it, tears forming in his eyes.  
  
CLARK  
  
What happened to you? Why did you send me away? Didn't you love me?  
  
His hand hits a hidden switch. A holographic projector activates from within the pod.   
  
Clark looks up to see a green, shimmering, holographic version of Jor-El.  
  
JOR-EL  
  
Greetings, my son. I am Jor-El, I am your father. If you are watching this   
  
holographic message, then my worst fears have been realized, but at least you   
  
are safe. This is a recording, so even though you may wish to speak, I will   
  
not be able to respond. You are my son, your real name is Kal-El and you are   
  
the sole survivor of the planet known as Krypton. Fifteen Earth years ago, the   
  
planet Krypton was embroiled in a war with a being known as Brainiac. As   
  
Kryptonians, we were a race of scholars and teachers. We were not prepared for   
  
the sudden onslaught. In my haste to save my planet I created a computer   
  
program given life, it was called The Eradicator. The Eradicator was powered   
  
with the core of the planet Krypton, which again in my haste I failed to   
  
realize the severe nature of using it as a power source. When I discovered the   
  
adverse effect it was having on our planet, it was too late. The Eradicator   
  
was the perfect warrior: indestructible, inhuman, without the need for food,   
  
drink, or rest. He would kill without mercy and slaughter without a thought.   
  
And the military and the government leaders loved it. They continually ignored   
  
my warnings, constantly pushing the power output from the planet's core into   
  
the Eradicator's systems higher and higher. Since you are watching this   
  
message, it means that our planet Krypton has been destroyed. And with it your   
  
mother and myself. I was building an escape ship for all three of us. I pity I   
  
was only able to finish one.  
  
Clark shakes his head. It's so hard to believe.  
  
JOR-EL  
  
By now you are noticing some changes in your self. Not the normal changes that   
  
all beings your age experience, but genetic changes. The Earth, as your   
  
predetermined new home, orbits a yellow sun, as opposed to Krypton's red. The   
  
yellow sun is changing you, energizing you. Making you a super man. You will   
  
find that you are faster, stronger, and more durable than the normal human. You   
  
may even discover powers like ice breath, heat vision, and the ability to fly.  
  
Clark's eyes widen.  
  
JOR-EL  
  
Kal-El, as my final words to you I wish you the best, and I want you to know   
  
that your mother and I love you very very much. Kal-El, with these new found   
  
powers, I want you to be a source of good in a universe of evil. Goodbye Kal-El. Remember, I will always be with you, here.  
  
Jor-El puts his holographic hand over his heart, and then the image fades away. Clark   
  
watches it fade, plunging the storm cellar into complete darkness. Tears stream down   
  
Clark's face.  
  
EXT. BARN -- EVENING  
  
Clark is standing on the roof of the barn, staring at the horizon.  
  
CLARK  
  
So I can fly, huh?  
  
He steps to the edge.  
  
CLARK  
  
Here goes nothing.  
  
He leaps off the edge and plummets straight towards the ground. In a split second before   
  
he hits, he hovers. Gravity has been broken. Clark laughs as he takes off straight up.  
  
EXT. SKY -- EVENING  
  
The sky, high over Smallville. Clark whirls, corkscrews, twirls, spins, and loop-d-loops   
  
in the air, crying out with as he flies, loving every second.  
  
CLARK  
  
YAWH-­HOO!!!!  
  
He flies over the city, high enough to be mistaken for a bird or a plane. He watches as   
  
the people, so small from up here, scurry on about their business.  
  
EXT. HIGH SCHOOL -- EVENING  
  
Clark touches down in a tree behind the school. Through the windows he can watch the   
  
students dance at the Homecoming Dance. He settles in the tree, watching. His joy fading.  
  
A screech, low, almost inaudible, but Clark's hearing picks it up. He turns in the tree,   
  
searching. He spots it. The same car as before. He stares at it.  
  
P.O.V. CLARK  
  
X-Ray vision, except it doesn't penetrate the roof of the car. All he sees is grey.  
  
BACK TO SCENE  
  
CLARK  
  
X-Ray vision doesn't work on metal. Good to know.  
  
He leaps down from the tree and sneaks closer to the car. He peers inside.  
  
P.O.V. CLARK  
  
Telescopic Vision, this time. In the car are the bully and Lana. The bully has Lana in   
  
the back seat, his hand pressed tightly over her mouth. The bully is trying to get the   
  
skirt of her dress up. Lana's fighting as well as she can, but the bully is bigger and   
  
stronger.  
  
BACK TO SCENE  
  
Clark's nostril's flare. He's pissed.  
  
Clark storms to the car, grabbing the door, his fingers penetrating the steel. He rips   
  
the door off.  
  
CLARK  
  
Get your damn hands off of her!  
  
The bully turns around, letting go of Lana's mouth. Lana looks up, crying.  
  
LANA  
  
Clark, help me.  
  
BULLY  
  
What the hell? My car.  
  
The bully gets out of the car.  
  
BULLY  
  
No one interrupts me when I'm working. Why don't you just run along back home.  
  
CLARK  
  
Leave her alone.  
  
BULLY  
  
Why should I listen to you?  
  
Clark grabs him around the throat, squeezing hard. The bully's eyes bulged out of their  
  
sockets. He sucks in air, trying to breathe.  
  
CLARK  
  
Because I can break your neck as easily as a twig.  
  
He rams the bully back against the font passenger door, shattering the window. Clark   
  
reaches back, and with one punch, sends the bully the rest of the way through the   
  
window. Clark rips off the door and grabs the bully by the ankle, dragging him out of  
  
the car and beating his head against the roof.  
  
Lana crawls out of the car.  
  
LANA  
  
Clark, stop!  
  
Clark's too angry. He doesn't hear here. He's focused entirely on the bully. Clark   
  
chucks him on the hood, smashing his fist into the bully's face and throwing him against   
  
the windshield. He slams his face against the windshield, repeatedly, until the   
  
windshield cracks where he's slamming the bully's head.  
  
Lana grabs Clark's arm.  
  
LANA  
  
Clark, stop it! You'll kill him!  
  
Clark's eyes widen as he comes to his senses. He drops the bully's head against the   
  
hood. Blood oozes from his face. He's unconscious.  
  
LANA  
  
Oh my God, Clark?  
  
CLARK  
  
I... I...  
  
LANA  
  
We have to get out of here before someone finds us.  
  
She grabs his arm.  
  
CLARK  
  
I have a better way.  
  
He grabs her around the waist, takes a giant step, and leaps into the air.  
  
EXT. SKY -- NIGHT  
  
Lana looks down at the ground far below.  
  
LANA  
  
Oh my God, Clark, how are you doing this?  
  
CLARK  
  
I'll explain it when we get to your house. I really need to talk to someone   
  
right now.  
  
LANA  
  
Yeah, obviously.  
  
CUT TO:  
  
EXT. LANA'S HOUSE -- NIGHT  
  
A nice, one story in the suburbs of Smallville. Clark lands perfectly right on her porch   
  
steps.  
  
LANA  
  
What happened to you? You almost killed that guy, you can fly... are you even   
  
human?  
  
CLARK  
  
No. No I'm not.  
  
LANA  
  
Oookay.  
  
She walks up the porch and sits in the swing.  
  
CLARK  
  
Lana, for the first time in my life I feel alive. I feel free. Lana, I'm not   
  
human. I'm not from this world. I'm from a planet called Krypton and my parents   
  
sent me here to survive after the planet was destroyed.  
  
He sits down next to her.  
  
CLARK  
  
Finally, after all these years of being different, I finally feel like I fit   
  
in.  
  
LANA  
  
That's a twisted statement, Clark.  
  
CLARK  
  
I know. I know.  
  
They sit in silence for a while. Then:  
  
LANA  
  
About what I said to you, today after school...  
  
CLARK  
  
Don't apologize. You were right. Sometimes I'm too smart for my own good.   
  
Lana, I realize that I have no more chances with you...  
  
LANA  
  
You still have one more.  
  
CLARK  
  
What?  
  
LANA  
  
You heard me.  
  
Lana and Clark kiss, awkwardly at first, but then deeper, or at least as deep as two   
  
fifteen year old small town residents are willing to go. Finally, they pull apart.  
  
LANA  
  
Thank you, for tonight.  
  
CLARK  
  
Lana, listen to me. Don't tell anyone what you saw, or what I told you today.   
  
Please. For my safety, for your safety, and for the safety of my parents.  
  
LANA  
  
I promise, Clark.  
  
She stands.  
  
LANA  
  
I'd better go in. I need to get cleaned up before my parents come home.  
  
CLARK  
  
Good night Lana.  
  
LANA  
  
Good night, Clark.  
  
Clark stands as Lana shuts the door to her house. He walks down the steps, literally   
  
floating over the last one as he takes off into the air again, a huge grin on his face.  
  
CUT TO:  
  
INT. KENT FARM HOUSE -- KITCHEN  
  
Jonathan and Martha are still up, sitting at the table. Clark opens the door and walks   
  
in, grinning like a complete idiot, his hair messed up, his clothes disheveled.  
  
CLARK  
  
Ma, Pa, I didn't expect you to still be up.  
  
JONATHAN  
  
This is what happens when your son says he's going for a walk at 4:45 and   
  
shows up home at midnight.  
  
CLARK  
  
Is it really midnight?  
  
MARTHA  
  
Where have you been?  
  
CLARK  
  
I was out flying.  
  
JONATHAN  
  
Flying?!  
  
Clark pulls a chair up to the table.  
  
CLARK  
  
I had the most wonderful night.  
  
JONATHAN  
  
Clark, are you on the marijuana?  
  
CLARK  
  
No. Of course not. I went to see the pod and I found this message from my   
  
father. He told me everything, about how my home planet is now gone, and a war   
  
with some guy named Brainiac and how he created this thing called the   
  
Eradicator and powered it using the planet's core, which destroyed the planet.   
  
He told me I'm special. He told me I could fly. So I flew. Whoosh! Like a bird.  
  
Martha leans close.   
  
MARTHA  
  
Clark, is that lipstick?  
  
Clark touches his lips. Lana's deep red lipstick stains his fingers.  
  
CLARK  
  
Ma, Pa, I think I'm in love.  
  
JONATHAN  
  
With who?  
  
CLARK  
  
Lana Lang.  
  
MARTHA  
  
So you did go to the dance.  
  
CLARK  
  
It's a long, complicated story.  
  
JONATHAN  
  
We have all night.  
  
DISSOLVE TO:  
  
INT. BOOK STORE  
  
CAPTION: Three Years Later...  
  
Clark Kent, now eighteen, and a strapping young man, stands behind the counter of a book   
  
store. It's early in the day and because of that, no one is around.  
  
Standing in front of the counter is Lana.  
  
LANA  
  
So what time do you get off tonight?  
  
CLARK  
  
In about five minutes.  
  
LANA  
  
You do know what tonight is, don't you?  
  
Clark pauses, thinking.   
  
CLARK  
  
Friday?  
  
Lana playfully hits him on the shoulder.  
  
LANA  
  
You forgot?! Don't tell me you forgot!  
  
CLARK  
  
Okay, I won't tell you I forgot.  
  
Lana laughs.  
  
CLARK  
  
Three years ago, I told you exactly what I was, and we had our very first kiss.  
  
LANA  
  
Bingo. And you win a kiss.  
  
She leans over the counter. They kiss, a small, quick one, that doesn't attract   
  
attention.  
  
CLARK  
  
Is there anything you're looking for, exactly?  
  
LANA  
  
No. I just thought I'd hang around. When you clock out, you want hit the food   
  
court and grab a bite to eat?  
  
CLARK  
  
Love to.  
  
Clark looks at his watch.  
  
CLARK  
  
Stay right here. I'll go clock out and be right back.  
  
Clark runs off. Lana turns, watching a TV broadcast on a little TV on counter.  
  
NEWS REPORTER  
  
The emotions here at Metropolis International is nothing but pure excitement   
  
as we wait for the new space plane to launch. The space plane, built by   
  
LexCorp's Aeronautics and Space division, is supposed to be able to lift off   
  
from a vertical position and meet exit speeds without the need for bulky rocket   
  
boosters. The space plane is going to launch here in a few minutes, so let me   
  
show you a few of the features this plane has.  
  
The screen changes to show a 3D computer model of the space plane.  
  
Clark exits the back room.  
  
CLARK  
  
Ready?  
  
LANA  
  
In a minute. They're about to launch.  
  
They watch the screen as the shuttle countdown begins. The numbers appear on the screen.   
  
5... 4... 3... 2... 1. The space plane's boosters activate, and after a second, it   
  
launches into the air, gracefully at first. Then one of the booster's explodes.  
  
NEWS REPORTER  
  
Oh my God! A booster has just exploded. The plane is still intact, but the   
  
people inside may be burning alive! The pilot's lost control!  
  
The plane begins to wobble in the air.  
  
CLARK  
  
Lana, go to my house, stay there.  
  
LANA  
  
What are you going to do?  
  
CLARK  
  
Save that plane!  
  
Clark takes off running.  
  
CUT TO:  
  
EXT. SKY -- DAY  
  
Clark hurtles through the sky at speed many times faster than sound. A sonic boom echoes   
  
as he rockets across the sky.  
  
P.O.V. CLARK  
  
The shuttle is in the distance, still climbing, still wobbly. It begins to tilt.   
  
Screaming can be heard.  
  
BACK TO SCENE  
  
Clark pushes forward.  
  
EXT. SKY OVER METROPOLIS -- DAY  
  
The shuttle begins to tilt, and come down, angling straight for the airport and the   
  
large crowd of spectators. They scream, trying to run. Some get knocked down. It's a mob   
  
scene.  
  
The speck of Clark Kent stops suddenly in mid air.  
  
CLARK  
  
I can't go down there like this!  
  
He reaches into his pockets and pulls out two bandannas. He quickly ties one over his   
  
head and the other over his nose and mouth. Simply disguised, Clark descends.  
  
EXT. METROPOLIS INTERNATIONAL AIRPORT -- DAY  
  
The news reporter, standing in front of the camera.   
  
NEWS REPORTER  
  
It's chaos here as the space plane begins to come down toward the airport. The   
  
people here to watch the event are trying to run, but there are so many that   
  
few will be able to get out before the plane hits.  
  
The hysterics suddenly stop as bystanders point into the sky.   
  
BYSTANDER #1  
  
Look, up in the sky!  
  
BYSTANDER #2  
  
Is it a bird?!  
  
BYSTANDER #3  
  
Is it a plane?!  
  
BYSTANDER #4  
  
No. It's a flying man!  
  
EXT. SKY -- DAY  
  
Clark swoops down out of the sky, grabbing the nose cone of the falling craft. He begins   
  
angling up, pushing against the speed of the space plane's descent. He struggles with   
  
all his strength, nothing happening at first.  
  
EXT. METROPOLIS INTERNATIONAL AIRPORT -- DAY  
  
The people point, scream, too transfixed to move as the space plane and Clark come ever  
  
closer. Then, suddenly, the plane begins to slow.  
  
EXT. SKY -- DAY  
  
Clark gains control, pushing with all his might against the plane, pushing it up,   
  
leveling it.  
  
EXT. METROPOLIS INTERNATIONAL AIRPORT -- DAY  
  
Clark brings the space plane down gently for a landing. He then leaps from the nose,   
  
tearing open the access hatch to the cockpit. It's filled with smoke. Using his super   
  
speed, Clark rushes in and out, carrying out the crew, laying them on the ground, as   
  
ambulances and fire trucks rush to the scene.  
  
Finally the last passenger is out. Clark turns to leave when..  
  
LOIS  
  
HOLD IT RIGHT THERE, BUSTER!!!  
  
Clark spins. Racing toward him is LOIS LANE, an eighteen year old skinny brunette,   
  
holding a small tape recorder. He pauses, confused.  
  
CLARK  
  
Who are you?  
  
LOIS  
  
Lois Lane, Metropolis School for the Gifted's senior reporter for the school   
  
newspaper and intern at the Daily Planet. And you are?  
  
CLARK  
  
I, erm, uh...  
  
JOR-EL  
  
(ghost like)  
  
A super man...   
  
CLARK  
  
Superman.  
  
LOIS  
  
I see, Superman. What brings you to Metropolis.  
  
CLARK  
  
It's obvious, right?  
  
LOIS  
  
Listen pal, I'm the one conducting the interview. Just answer.  
  
CLARK  
  
What brought me to Metropolis? I'll tell you what brought me to Metropolis.   
  
People in danger, that's what brought me to Metropolis. I came here to help   
  
right a wrong and keep innocent lives from being ended.   
  
(on his soap box)  
  
I came to Metropolis to fight for Truth, Justice, and the American Way!  
  
LOIS  
  
How Republican.  
  
CLARK  
  
With an attitude like that, I'm not answering anymore of your questions.  
  
(to EMTs)  
  
Take good care of those astronauts. They're the real heroes.  
  
And with that, Clark Kent takes off into the air.  
  
CUT TO:  
  
INT. KENT FARM HOUSE -- LIVING ROOM  
  
Lana, Jonathan, and Martha are sitting on the couch, watching the news coverage.  
  
CLARK  
  
With an attitude like that, I'm not answering anymore of your questions.  
  
(to EMTs)  
  
Take good care of those astronauts. They're the real heroes.  
  
Clark takes off on the TV. The camera on the TV shifts to show the news reporter.  
  
NEWS REPORTER  
  
And that was the enigmatic being known as Superman.  
  
WOOSH! Outside the house, a blast of air signals the arrival of Clark Kent. He rushes   
  
into the house, throwing off the bandannas.  
  
Lana leaps into his arms.  
  
LANA  
  
Way to go Clark!  
  
MARTHA  
  
We're so proud of you, Clark.  
  
JONATHAN  
  
Amazing! Simply amazing.  
  
Clark smiles.  
  
CLARK  
  
Not amazing, Pa. Super.  
  
They laugh.  
  
NEWS REPORTER  
  
Unfortunately the death toll has now risen to two. Two of the astronauts closes   
  
to the blast died of their injuries.  
  
Clark whirls, staring at the TV. The scene switches to show an MEDIC.  
  
MEDIC  
  
If Superman had only gotten here a few seconds earlier, we would've been able   
  
to save these two. It's a miracle we were able to save the rest. Superman,   
  
thank you.  
  
Clark's face falls.  
  
CLARK  
  
A few seconds...  
  
LANA  
  
Don't let it get you down. You save the lives of hundreds!  
  
CLARK  
  
But two people won't be going home tonight.  
  
JONATHAN  
  
Clark...  
  
Clark turns, walking out of the room. They watch him go.  
  
MARTHA  
  
Oh dear.  
  
JONATHAN  
  
He'll be okay.  
  
CUT TO:  
  
INT. CLARK'S BEDROOM  
  
It's night outside. Clark is sitting on his bed, staring at a letter in his hands. In   
  
big letters it says "CONGRATULATIONS, CLARK KENT." The letter head is for Metropolis   
  
University.  
  
CUT TO:  
  
INT. KENT FARM HOUSE -- KITCHEN -- NEXT DAY  
  
Martha and Jonathan are sitting at the table, eating breakfast.  
  
JONATHAN  
  
I hate these egg substitutes. What ever happened to the days when a man could   
  
eat a dozen eggs, seven strips of bacon, and a pound of sausage without   
  
worrying about his blasted health?  
  
MARTHA  
  
You know what the doctor says. Besides, those days went out with smoke signals.  
  
JONATHAN  
  
Bah.  
  
There's a knock on the kitchen door.  
  
MARTHA  
  
Who could be here that early?  
  
Martha opens the door. Lana stands there.  
  
MARTHA  
  
Lana, come in. What are you doing here?  
  
Lana walks into the kitchen.  
  
LANA  
  
I couldn't sleep. I was worried about Clark.  
  
MARTHA  
  
Would you like some breakfast?  
  
LANA  
  
No thank you.  
  
JONATHAN  
  
Clark's been in his room all night. We didn't go disturb him. Something like   
  
this a man has to deal with on his own.  
  
Clark walks into the kitchen.  
  
CLARK  
  
Morning, Ma, Pa. Lana.  
  
MARTHA  
  
Morning, sweetie? Breakfast?  
  
CLARK  
  
No, thanks. I've come to a decision.  
  
JONATHAN  
  
About what, son?  
  
CLARK  
  
I'm moving to Metropolis.  
  
Silence, wide eyed stares.  
  
LANA  
  
You're what?!  
  
CLARK  
  
I've been accepted on a full ride scholarship to Metropolis University and I   
  
accepted it.  
  
JONATHAN  
  
Tell me this isn't because of the "few seconds earlier" thing.  
  
CLARK  
  
Partially. But I realized that if I want to use these powers to do any real   
  
good in this world, I need to move to a bigger city. Smallville is nice,   
  
quiet, it's a place I'll move back to when I retire, but right now Superman   
  
needs to be in the middle of it all. Gotham has Batman, so Metropolis needs   
  
Superman.  
  
Lana has tears in her eyes.  
  
LANA  
  
But what about us?  
  
CLARK  
  
I thought long and hard about that too, Lana.  
  
LANA  
  
Then it's over, isn't it.  
  
CLARK  
  
As boyfriend and girlfriend. Lana, do you know why I told you about me? About   
  
my abilities? Because aside from Ma and Pa you are the only one I can truly   
  
trust. I've had a crush on you since the fifth grade, and these last three   
  
years have been the best. Ever since I was a kid there has been something   
  
missing in my life that I couldn't fill. Something that made me incomplete.   
  
And you filled that void.  
  
Clark reaches into his pant's pocket and pulls a ring box out of it. He gets down on one   
  
knee, taking Lana's hand. He opens the box. There's a beautiful diamond engagement ring   
  
sitting in the velvet. Lana puts a hand to her mouth, trying to stop the tears. Jonathan   
  
and Martha's eyes widen and they hold hands.  
  
CLARK  
  
Lana Lang, will you marry me?  
  
LANA  
  
Yes. Yes, Clark, I will marry you.  
  
Clark slips the ring of his finger and stands. Lana collapses into his arms, bawling.   
  
Martha has tears glistening and Jonathan wipes one away.  
  
JONATHAN  
  
Well what are standing around here for? We have a wedding to plan!  
  
CUT TO:  
  
EXT. KENT FARM HOUSE -- EVENING  
  
Clark and Lana sit on the porch swing, watching the sunset. Lana is leaning on Clark's   
  
arm. They're entwined in each other's arms.  
  
LANA  
  
Isn't it beautiful?  
  
CLARK  
  
Yeah.  
  
LANA  
  
I can't believe we're going to get married. Lana Kent, has a nice ring to it.  
  
Clark smiles. He kisses the top of her head.  
  
CLARK  
  
Once we get to Metropolis we're going to have a whole new life ahead of us,   
  
Lana. A whole new world of adventure.  
  
LANA  
  
You know, I was thinking about the whole Superman thing.  
  
CLARK  
  
Yeah?  
  
LANA  
  
You need a costume.  
  
Clark laughs.  
  
CLARK  
  
Like a Power Ranger?  
  
LANA  
  
No, I'm serious. I've been kicking around a few ideas for it, and I've decided  
  
that you need to take off the goofy bandannas.  
  
CLARK  
  
Go bare faced? But then how I can lead the life of Clark Kent, mild mannered   
  
college student and husband?  
  
LANA  
  
Just change your everyday appearance. Wear a pair of glasses.  
  
CLARK  
  
I don't need glasses.  
  
LANA  
  
So?  
  
Clark thinks about it.  
  
CLARK  
  
You know, I would look good in a pair.  
  
LANA  
  
Plus the ruse is so totally obvious that no one will ever put two and two   
  
together.  
  
CLARK  
  
Yeah. Okay Miss Art Designer, show me what you got.  
  
LANA  
  
Not going to.  
  
CLARK  
  
Why?  
  
LANA  
  
Because I want it to be a surprise.  
  
CLARK  
  
Uh oh. Are you going make it pink and purple with a flower trim?  
  
LANA  
  
Maybe.  
  
CUT TO:  
  
EXT. KENT FARM HOUSE  
  
CAPTION: Six Months Later...  
  
A U-Haul truck is sitting in front of the farm house. Clark finishes loading his desk,   
  
all by himself, into the back. He shuts the door and turns to see Martha and Jonathan   
  
standing on the back porch.  
  
CLARK  
  
Well, I'm all set.  
  
MARTHA  
  
I always knew this day would come. I just wish it wasn't so soon.  
  
CLARK  
  
I'll be okay, Ma.  
  
JONATHAN  
  
Call us whenever you get the chance, Clark.  
  
CLARK  
  
I'll drop in every now and then.  
  
MARTHA  
  
Oh don't do that. It's such a long trip.  
  
CLARK  
  
Not when you can fly.  
  
Smiles all around.  
  
CLARK  
  
We'll come back for the wedding. Right now we just want to find a place and get   
  
settled.  
  
JONATHAN  
  
I'm proud of you son.  
  
CLARK  
  
Thanks Pa.  
  
They hug.  
  
CLARK  
  
Well I better get going. I need to help Lana move.  
  
MARTHA  
  
Say hi to the Langs for us.  
  
CLARK  
  
Will do Ma.  
  
Clark climbs into the cab of the truck, starts it off and roars down the dirt road away   
  
from the farm. Martha and Jonathan watch him go.  
  
MARTHA  
  
We raised such a good young man.  
  
JONATHAN  
  
That we did Martha. That we did.  
  
EXT. LANA'S HOUSE -- DAY  
  
Lana is sitting out on the porch with her mom, MRS. LANG as Clark pulls up in the   
  
U-Haul. He backs up toward the porch.  
  
INT. U-HAUL CAB  
  
Clark sighs as he replaces his sunglasses with a pair of non-prescription regular   
  
glasses.  
  
EXT. LANA'S HOUSE -- DAY  
  
He climbs down from the cab.  
  
CLARK  
  
Morning, Mrs. Lang.  
  
MRS. LANG  
  
Hello, Clark.  
  
LANA  
  
Hey sweetie.  
  
They kiss.  
  
CLARK  
  
Ready?  
  
LANA  
  
Yep. My dad'll help you with the heavy stuff.  
  
She winks at him. Clark grins.  
  
CLARK  
  
Could always use help moving the heavy stuff.  
  
MR. LANG stands in the front doorway.  
  
MR. LANG  
  
There's my future son in law. Come on, we only need to grab the furniture in   
  
Lana's room.  
  
CLARK  
  
On my way.  
  
INT. LANA'S ROOM  
  
The room is bare save for some heavy furniture: An empty chest of drawers, a desk, the   
  
bed. Clark and Mr. Lang step into the room.  
  
MR. LANG  
  
So, which first?  
  
CLARK  
  
Which one's the heaviest?  
  
MR. LANG  
  
Chest of drawers.  
  
CLARK  
  
After you.  
  
They walk over to the chest of drawers, each picking an end.  
  
MR. LANG  
  
Clark, I'm pretty sure Jonathan had this talk with you before, but I hope you   
  
aren't rushing into anything. Marriage is a big step and most marriages with   
  
people as young as you and Lana don't last.  
  
They heft. Clark lifts it easily and supports most of the weight.  
  
CLARK  
  
I know. But I love Lana, always have.  
  
MR. LANG  
  
I just don't want to see either of you heartbroken.  
  
EXT. LANA'S HOUSE -- DAY -- LATER  
  
Clark shoves Lana's mattress into the back of the U-Haul and slams the gate closed. He   
  
turns to watch Lana say good bye.  
  
MRS. LANG  
  
We'll miss you.  
  
LANA  
  
I know Mom.   
  
CLARK  
  
I'll do my best to make her happy.  
  
MR. LANG  
  
You're a good kid, Clark. Lana couldn't have picked a better one.  
  
Clark and Mr. Lang shake hands, and Mr. Lang pulls him into a hug.  
  
CLARK  
  
We'd better get going. It's a long way from Smallville to Metropolis.  
  
Clark holds open Lana's door and helps her into the cab. He walks around to the other   
  
side and gets in himself. The truck starts up and roars away from the house.  
  
CUT TO:  
  
EXT. INTERSTATE -- DAY  
  
The U-Haul drives down the Interstate, following traffic.  
  
INT. U-HAUL CAB  
  
Lana is looking out the window, watching the scenery as it gradually changes from small   
  
town Kansas to the bigger towns.  
  
CLARK  
  
Are you excited?  
  
LANA  
  
And a little nervous.  
  
CLARK  
  
Me too.  
  
Lana looks over at him.  
  
LANA  
  
You? Superman, nervous?  
  
Clark smiles.  
  
CLARK  
  
I may be a super man, but I'm still a man.  
  
LANA  
  
And what a man.  
  
Laughter.  
  
CLARK  
  
I wish I could just pick this thing up and fly us there. It'd be so much faster.  
  
LANA  
  
Yeah, but now we get to see if we can stand each other by riding in the same   
  
car for a few days.  
  
(beat)  
  
Are we going to stop at any hotels?  
  
CLARK  
  
I can go for as long as I need to. Why?  
  
LANA  
  
No reason. We are going to stop for gas and other necessities, right?  
  
CLARK  
  
Would I make you ride for all this time without stopping to let you go to the   
  
bathroom? Even Superman has to make a pit stop once in a while.  
  
Lana smiles.  
  
LANA  
  
Metropolis. What do you think it'll be like?  
  
CLARK  
  
Well, from what I managed to see, it's going to be big, and bustling. It'll  
  
take some getting used to. Of course, there's that Lois Lane to worry about...  
  
LANA  
  
Who?  
  
CLARK  
  
That reporter that was talking to me. Lois Lane. Said she was the senior   
  
reporter for the Metropolis School for the Gifted. That's all I know.  
  
LANA  
  
Don't go getting any ideas.  
  
CLARK  
  
(laughs)  
  
Don't worry. You're the only one for me.  
  
INT. APARTMENT  
  
The door opens to the darkened apartment and Clark and Lana step into their new home.   
  
Clark is carrying a box.  
  
LANA  
  
Oh, this is beautiful.  
  
CLARK  
  
And not too bad on the rent either.  
  
Lana looks around. Clark sets the box down on the kitchen counter.  
  
LANA  
  
It feels like home.  
  
Clark wraps his arm around Lana's waist, and they just stand in the middle of the living   
  
room.  
  
CLARK  
  
I'll go ahead and bring up a few of the necessities. Mind if I stack our   
  
mattresses for a bed?  
  
LANA  
  
Not at all.  
  
CLARK  
  
The phone's and phone book are in the box. Go ahead and order something for   
  
dinner.  
  
LANA  
  
Pizza okay?  
  
CLARK  
  
Fine with me.  
  
He kisses her and walks out of the apartment. Lana goes to the box and digs through it.   
  
The first thing she pulls out is a photo of her and Clark from their prom. She smiles at   
  
it.  
  
CUT TO:  
  
INT. APARTMENT -- LATER  
  
Clark and Lana sit on the floor, the pizza on the floor with them. A TV is sitting on   
  
the floor, plugged into the wall socket. Otherwise there's not much there yet.  
  
CLARK  
  
The pizza guy almost fainted when he saw me carrying those three mattresses at   
  
once.  
  
Lana laughs.  
  
LANA  
  
So, how many kids do you want?  
  
Clark chokes on his pizza.  
  
CLARK  
  
Kids?  
  
LANA  
  
Yeah. You know, babies. The ­pre-adult form of human beings?  
  
CLARK  
  
I never thought about it.   
  
(grins)  
  
I've always wanted a girl.  
  
LANA  
  
Why a girl?  
  
CLARK  
  
I don't know. Maybe to pass on the mother's good looks. I've always thought it   
  
was easier to spoil a little girl.  
  
LANA  
  
Yeah, but you can't rough house with a girl like you can a boy.  
  
CLARK  
  
Unless the girl turns out to be Superwoman.  
  
Lana goes pale.  
  
LANA  
  
Can you imagine raising a super baby?  
  
CLARK  
  
I didn't begin to develop my powers until I was ten. First thing I did was   
  
catch a truck falling off of a jack. Almost gave Pa a heart attack.  
  
They laugh. Clark gets serious.  
  
CLARK  
  
It might not be possible.   
  
LANA  
  
What do you mean?  
  
CLARK  
  
Kryptonian and Earthling biology might be so different that it could kill you.  
  
There's really no way for me to find out without trial and error.  
  
Lana scoots closer to Clark.  
  
LANA  
  
There's only one way to find out.  
  
She kisses him, deeply. Clark pushes into it and they both lay back on the floor.  
  
CUT TO:  
  
EXT. DAILY PLANET -- DAY  
  
Clark lowers a newspaper want ad that says "DAILY PLANET: HELP WANTED" with a picture of   
  
the building on it to reveal the actual Daily Planet building.  
  
CLARK  
  
Black and white just doesn't do it justice.  
  
He walks into the door.  
  
INT. DAILY PLANET -- LOBBY  
  
Clark walks into the expansive Daily Planet lobby. He walks up to the reception desk.  
  
CLARK  
  
Hi, I'm here for the job.  
  
RECEPTIONIST  
  
Fourth floor, Human Resources.  
  
CLARK  
  
Thank you.  
  
INT. DAILY PLANET -- HUMAN RESOURCES DEPARTMENT  
  
Clark is sitting in a chair, flipping through a magazine. The human resource lady behind   
  
the desk calls for him.  
  
LADY  
  
Clark Kent?  
  
Clark stands.   
  
CLARK  
  
Yeah?  
  
LADY  
  
You're wanted in Perry White's office.  
  
She hands him a visitor's badge.  
  
LADY  
  
Wear it up in the news room. He's the only one with an office.  
  
CLARK  
  
Thank you.  
  
INT. DAILY PLANET -- NEWS ROOM  
  
The elevator door dings and opens, depositing Clark into the news room, aka the Place   
  
of Organized Chaos. The clicky clack of key board keys and the sounds of reporters on   
  
the phone would deafen most men.  
  
Clark looks around. A SECRETARY walks up to him.  
  
SECRETARY  
  
Lost?  
  
CLARK  
  
I'm looking for Perry White's office.  
  
The secretary turns and points.  
  
SECRETARY  
  
Over there.  
  
CLARK  
  
Thank you.  
  
He walks toward the office door, dodging rushing reporters. He knocks on the door.  
  
PERRY  
  
Come in!  
  
Clark opens the door.  
  
INT. PERRY WHITE'S OFFICE  
  
Clark enters.  
  
CLARK  
  
Mr. White, I'm here for the job.  
  
PERRY  
  
Sit.  
  
Clark does. Perry holds up the application and resume, looking it over.  
  
PERRY  
  
You've enrolled in Metropolis U.  
  
CLARK  
  
Yes sir.  
  
PERRY  
  
Major?  
  
CLARK  
  
Creative writing, computer programming, journalism, and theater.   
  
PERRY  
  
Four?  
  
CLARK  
  
Yes sir.   
  
PERRY  
  
Theater, eh? You an actor?  
  
CLARK  
  
Yeah, but I'd rather be a writer.  
  
PERRY  
  
Good answer.  
  
He looks over the rest of it.  
  
PERRY  
  
I'm sorry to say you're not qualified for the news room.  
  
Clark's face falls.  
  
PERRY  
  
But the mail room has a position open, if you don't mind starting at the   
  
bottom.  
  
Clark perks up.   
  
CLARK  
  
Oh no, I don't mind.  
  
PERRY  
  
You have a strong work ethic kid. You'll work you way up in no time. Why, you   
  
may even take my job when I retire.  
  
Perry writes something on a slip of paper and slides it to Clark.  
  
PERRY  
  
Report to his room tomorrow morning, eight am sharp.  
  
CLARK  
  
Yes sir.  
  
The door bursts open and Lois walks into the room.  
  
LOIS  
  
Perry, I need to talk to you.  
  
PERRY  
  
Not right now Lois, I'm busy.  
  
She looks over at Clark. Clark grins and waves. Lois turns back to Perry.   
  
LOIS  
  
It's about the assignments. I should be getting the city beat. All the good   
  
stuff happens there.  
  
PERRY  
  
Lois, you're not ready for that yet.  
  
LOIS  
  
But..  
  
PERRY  
  
Look, we'll discuss it later.  
  
Lois sighs angrily and storms out of the office, shutting the door behind her.  
  
CLARK  
  
She seems a bit..  
  
(searches for the word)  
  
Young.  
  
Perry sighs.  
  
PERRY  
  
Lois Lane, daughter of Sam and Ellen Lane, long time fiancee of Lex Luthor the   
  
Second.  
  
CLARK  
  
Sam Lane? Isn't he a military general?   
  
PERRY  
  
Yeah. Heads the military base just outside of town. Ellen's the CFO at   
  
LexCorp, and good buddies with Lex Luthor the First, who just happens to own   
  
fifty one percent stock in the Daily Planet. Lois works for us only because   
  
Luthor said so. Without him, this paper wouldn't keep publishing.  
  
He sighs again.  
  
PERRY  
  
Now she's going to go cry to Ellen about not getting the city beat and   
  
tomorrow I'll get a call form either Ellen or Luthor subtly demanding me to   
  
give her the beat.  
  
Clark shakes his head.  
  
CLARK  
  
It's a sad sad world we live in.  
  
PERRY  
  
Damn right it is.  
  
A beat. Then.  
  
PERRY  
  
Pleasure to meet you Clark. Hope to see more of you.  
  
CLARK  
  
You bet, Mr. White.  
  
Clark stands and they shake hangs.  
  
CUT TO:  
  
EXT. ANTARCTICA -- NIGHT  
  
A fairly large research dome, sitting in the middle of the white landscape.  
  
INT. RESEARCH DOME  
  
A group of researchers sit around a folding card table, playing poker. Behind them a   
  
bank of monitors monitor for anything abnormal.  
  
RESEARCHER 1  
  
Raise you ten.  
  
RESEARCHER 2  
  
I'll see it. And call.  
  
They lay down their cards. Researcher 1 has a straight flush.  
  
RESEARCHER 1  
  
Read 'em and weep.  
  
The researches toss down their cards. A warning light begins flashing and a small beep   
  
goes off.  
  
RESEARCHER 4  
  
What's that?  
  
Researcher 3 rushes for the monitors.  
  
RESEARCHER 3  
  
Proximity alarm. Someone's approaching the dome!  
  
RESEARCHER 1  
  
What is it?  
  
They crowd around as Researcher 3 sits down and types out some commands. A camera image   
  
comes up of a black object walking through the blowing ice and snow.  
  
RESEARCHER 2  
  
Impossible!  
  
The figure stops, looking at the camera. He hits the camera and it goes to static.  
  
RESEARCHER 4  
  
Which camera was that?  
  
RESEARCHER 3  
  
Camera One.  
  
A hand busts through the side of the dome. The researchers turn as the cold air seeps in   
  
through the hole. The hole rips bigger until the being is inside the dome. It's the   
  
Eradicator.  
  
The Eradicator throws over equipment and chairs as he approaches the researchers, who   
  
cower back. He grabs Researcher 1 and violently breaks his neck. Researcher 2 gets the   
  
same treatment.  
  
CUT TO:  
  
EXT. LEXCORP TOWERS -- DAY  
  
The giant, L shaped, glass tower, sticking out of the Metropolis sky line.  
  
INT. LEX LUTHOR THE FIRST'S OFFICE  
  
The plush, expansive office.   
  
Sitting in a chair, turned away from his desk, and staring out the windows is LEX LUTHOR   
  
THE FIRST, from here on out known as LUTHOR.  
  
Sitting in front of his desk is ELLEN LANE.  
  
LUTHOR  
  
So how goes the investigation into the space plane?  
  
ELLEN  
  
So far no one has found the sabotage, Mr. Luthor.  
  
LUTHOR  
  
Excellent. Now, what about the flying man. What do they call him now? Batman?  
  
ELLEN  
  
Superman.  
  
LUTHOR  
  
What about him?  
  
ELLEN  
  
Nothing. No one's ever seen or heard of Superman before. It's like he simply   
  
disappeared.  
  
LUTHOR  
  
Will it effect our insurance claim?  
  
ELLEN  
  
Yes. We would have gotten substantially more if it had crashed.  
  
LUTHOR  
  
Damn.  
  
He spins his chair away from the window.  
  
LUTHOR  
  
Ellen, I want you to find this Superman and tell him I want a conference.  
  
ELLEN  
  
Sir?  
  
LUTHOR  
  
He made a public name for himself saving one of our planes. I'll offer him a   
  
job, publicly thank him.  
  
ELLEN  
  
And if he doesn't accept the job offer?  
  
LUTHOR  
  
Then I'll make his life a living hell.  
  
CUT TO:  
  
INT. CONFERENCE ROOM  
  
LEX LUTHOR THE SECOND, from here on out known simply as LEX, is sitting at the end of a   
  
table. Sitting at his right is Lana.  
  
LEX  
  
Impressive resume, Miss Lang.  
  
LANA  
  
Thank you.  
  
LEX  
  
I'll cut to the chase, Miss Lang. We here at LexCorp have a rather unique   
  
hiring process. We are very strict on those we interview. Maybe every four out   
  
of ten. Then we give those four an interview and a try out. Essentially you   
  
have the job for a day. Then the hiring committee meets with myself and my   
  
father and we decide who did the better job. Since you are the last applicant,   
  
your try out day will not be until this coming Friday. We will notify you on   
  
whether or not you have received the job as my father's secretary by Sunday.  
  
The phone on the table rings. Lex picks it up.  
  
LEX  
  
Yes?  
  
He listens, not liking what he hears. He hangs up.  
  
LEX  
  
Now, if you'll excuse me, I just got some very startling news that I need to   
  
relate to my father. Good day.  
  
Lex stands and leaves.  
  
LANA  
  
That was fast.  
  
EXT. DAILY PLANET -- ROOF -- DAY  
  
Lois jogs across the rooftop of the Daily Planet, which has been converted into a   
  
helipad. Sitting on the helipad is a helicopter with the LexCorp logo on the side.  
  
Lois slips into the cockpit.  
  
INT. HELICOPTER  
  
Lois buckles in.  
  
LOIS  
  
Hey Gary.  
  
The pilot is sweating, he looks terrible.   
  
PILOT  
  
Afternoon, Lois.  
  
LOIS  
  
You okay?  
  
PILOT  
  
Just a little warm. I think I have a cold.  
  
LOIS  
  
Well don't give it to me.  
  
The pilot manipulates the controls.  
  
PILOT  
  
LexCorp, right?  
  
LOIS  
  
Yeah. Lex is going to meet me at the helipad.  
  
The 'copter lifts off.  
  
EXT. SKY OVER METROPOLIS -- DAY  
  
The helicopter gains altitude.  
  
INT. HELICOPTER  
  
The pilot suddenly keels over at the stick. The helicopter goes into a nose dive.  
  
EXT. DAILY PLANET -- DAY  
  
Clark walks out of the Daily Planet. A high pitched scream hits his super sensitive ears   
  
like a bullet. He looks up fast, spotting the helicopter.  
  
He looks around.  
  
CLARK  
  
Why didn't I remember to ask Lana for my costume.  
  
He ducks into an alleyway, tearing off his shirt and removing his glasses. He stuffs   
  
them behind a dumpster and takes off into the air.  
  
EXT. SKY OVER METROPOLIS -- DAY  
  
The helicopter is pitching bad.  
  
INT. HELICOPTER  
  
Lois quickly undoes her harness and tries to move the pilot but he's all dead weight.   
  
The helicopter shifts suddenly, pitching Lois from the helicopter.  
  
EXT. SKY OVER METROPOLIS -- DAY  
  
She falls, the helicopter spiraling downward.  
  
EXT. BUS STOP -- DAY  
  
Lana's standing at the bus stop, watching the helicopter and falling body of Lois Lane.  
  
LANA  
  
Come on, Clark.  
  
Then...   
  
BYSTANDER #1  
  
Look, up in the sky!  
  
BYSTANDER #2  
  
It's a bird!  
  
BYSTANDER #3  
  
It's a plane!  
  
LANA  
  
No. It's Superman.  
  
The streak in the sky snatches Lois out of the sky and rockets toward the helicopter.  
  
EXT. SKY OVER METROPOLIS -- DAY  
  
Clark grabs the landing strut of the helicopter, hefting it to a stop. Lois comes to her   
  
senses.  
  
LOIS  
  
What the Hell?  
  
CLARK  
  
Don't worry Lois, I've got you.  
  
Lois blinks.  
  
LOIS  
  
Superman?  
  
CLARK  
  
At your service.  
  
EXT. BUS STOP -- DAY  
  
Clark slowly lowers to the ground, lowering the helicopter with him. People begin to   
  
crowd around.  
  
CLARK  
  
People, please! Give me room!  
  
He reaches into the helicopter and pulls out the pilot. He lays him on the ground and  
  
puts his ear to his chest.  
  
LOIS  
  
Is he okay?  
  
CLARK  
  
Faint heart beat.  
  
Clark rips the pilot's shirt open.  
  
CLARK  
  
Call 911.  
  
Lois whips out her cell phone as Clark begins to administer CPR.  
  
LOIS  
  
A pilot just had a heart attack. Superman is here. Where?  
  
(looks around)  
  
Siegel and Shuster.  
  
LANA  
  
Are they on their way.  
  
LOIS  
  
Yeah.  
  
Clark continues to administer CPR. An ambulance speeds down the street, turning and   
  
stopping next to Clark.  
  
LANA  
  
That was fast.  
  
LOIS  
  
The hospital's right around the corner.  
  
The EMTs get out of the back. Clark pulls away, standing, letting them get to their   
  
work. One of the EMTs turns from the pilot.  
  
EMT  
  
He'll be fine, thanks to you.  
  
CLARK  
  
My pleasure. Now, if you'll excuse me.  
  
LOIS  
  
Wait! I need a lift.  
  
CLARK  
  
I'm not a bus service.  
  
LOIS  
  
I know, but it's important. Please?  
  
CLARK  
  
Okay. But this is the only time.  
  
He wraps an arm around Lois's waist and lifts off into the air. Lana watches, frowning.  
  
CUT TO:  
  
EXT. LEXCORP TOWERS -- ROOF -- DAY  
  
Clark sets down on the roof of LexCorp Towers. He lets go of Lois.  
  
CLARK  
  
If that will be all?  
  
LOIS  
  
One last thing. I want to interview you.  
  
CLARK  
  
I don't give interviews.  
  
LOIS  
  
Please? It would make my editor see that I'm ready for the city beat.  
  
Clark pauses. He remembers the scene. Finally...  
  
CLARK  
  
Fine.  
  
LOIS  
  
Great! My place, ten pm. Here's the address.  
  
She hands Clark a card. It has Ellen's name on it.  
  
CLARK  
  
Okay. Ten pm.  
  
And with that, he takes off, flying away.  
  
CUT TO:  
  
INT. LEX LUTHOR THE FIRST'S OFFICE  
  
Luthor is sitting on the phone. Lex is sitting behind the desk.  
  
LUTHOR  
  
Yes. Yes. And what about the dome? Completely destroyed huh? Did any of the   
  
tapes survive? They did? I want them shipped her ASAP.  
  
He hangs up.  
  
LUTHOR  
  
Tragic.  
  
LEX  
  
How so? The deaths of the men?  
  
LUTHOR  
  
No. The fact that whatever did this could be long gone.  
  
LEX  
  
Sad.  
  
LUTHOR  
  
So, don't you have a date with Lois tonight?  
  
LEX  
  
She should be arriving soon.  
  
A buzz on the intercom. Luthor hits the button.  
  
LUTHOR  
  
What?  
  
VOICE ON THE INTERCOM  
  
Lois Lane is here.  
  
LUTHOR  
  
Send her in.  
  
Lex stands as the door opens and Lois walks in. He walks over to her, taking her hand   
  
and kissing her.  
  
LEX  
  
Hello love.  
  
LOIS  
  
You'll never guess what happened.  
  
LEX  
  
What?  
  
LOIS  
  
I almost died!  
  
Luthor shakes his head.  
  
LUTHOR  
  
And?  
  
LOIS  
  
Superman saved me. He even promised to give me an interview at ten tonight.   
  
Lex, darling, I hope you don't mind if I cut our night short.  
  
Lex and Luthor exchange glances.  
  
LEX  
  
Not at all, love. Are you ready to go? The reservations are in forty five   
  
minutes.  
  
LOIS  
  
Just let me freshen up a bit first.  
  
LEX  
  
By all means.  
  
Lois walks toward the wash room. She enters and shuts the door. Lex turns to Luthor.  
  
LUTHOR  
  
I want you to wait until he arrives and then give him my proposal.  
  
LEX  
  
Yes, father.   
  
INT. APARTMENT  
  
Clark enters through the front door, now wearing his glasses and shirt. The interior is   
  
now partly furnished with the things brought from home.  
  
Lana is sitting on the couch, watching the news.  
  
NEWS ANCHOR  
  
... the pilot is in stable condition thanks to the heroic efforts of the one   
  
called Superman.  
  
CLARK  
  
Hey, I made the news.  
  
LANA  
  
Have fun flying Lois where she needed to go?  
  
Clark sits on the sofa.  
  
CLARK  
  
Is that jealousy I hear?  
  
Lana whirls on him.   
  
LANA  
  
How did you think I would feel? You, shirtless, looking as hot as I've ever   
  
seen you, flying off with another woman?  
  
CLARK  
  
Would this be a bad time to tell you I promised her an interview?  
  
LANA  
  
What?!  
  
Clark touches Lana's cheek.  
  
CLARK  
  
She means nothing to me. I'm only giving her the interview so she'll get off   
  
my back. If I don't, every time Superman shows up in public, she'll be there.   
  
Plus it's good to let the public know they can trust me.   
  
Lana touches his hand.  
  
LANA  
  
I know. I don't know why I was so mad.  
  
CLARK  
  
We all have to get used to this Superman thing. Which reminds me, when do I get   
  
my costume.  
  
Lana smiles.  
  
LANA  
  
I was thinking the same thing.  
  
She gets up and goes to the closet. She opens the door and rummages around before coming   
  
back with the a box. Clark takes the box. Clark rips off the tape.  
  
CLARK  
  
Did you get the job?  
  
LANA  
  
I have a trial date on Friday. I'll know by Sunday. How about you?  
  
CLARK  
  
Mail room. But I think the editor, Mr. White, really likes me.  
  
LANA  
  
That's great.  
  
Clark begins to open the box, and pulls out the costume. He looks it over.  
  
CLARK  
  
Holy cow!  
  
LANA  
  
You like it?  
  
CLARK  
  
I love it!  
  
LANA  
  
It's the same color as your bandannas.  
  
CLARK  
  
Thank you,  
  
He kisses her.  
  
LANA  
  
I also made the pink and purple one with the flower trim, in case you ever   
  
feel like standing out.  
  
Clark laughs. 


End file.
